Sequencing Bond

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This is something I've written about quite a bit since the five expanded James Bond albums (Thunderball, You Only Live Twice, On Her Majesty's Secret Service, Diamonds are Forever and Live and Let Die) were released in February 2003. A lot of people really like having the ability to program or edit these CD's into chronological order so below you will find what needs to be done for each album. This is also the latest version so if you've done this already, you might just want to make sure you have the most up to date edition.

This is an easy one to start with since the new re-mastered album can be programmed to play in sequence. The earlier album mistakenly combined two cues, and they had to be edited apart.

5, 1, 2, 12, 3, 13, 14, 15, 6, 7, 4, 9, 10, 11, 8

On my Goldfinger album I have also included Anthony Newley's recording of the theme from the 30th Anniversary album.

1. Gunbarrel and Chateau Flight 2:52

"Gunbarrel" comes from the first 21 seconds of track 13.

I then did a fade between "Gunbarrel" and "Chateau Flight".

The final edited cue clocks in at 2:52.

2. Thunderball - Tom Jones 3:03

3. The Spa 2:42

4. Traction Table 1:31

This cue comes right after "Gunbarrel" on track 13.

I faded it in quickly, so as not to lose the sax in the beginning, but to get rid of the fade out of the "Gunbarrel".

I also added some silence at the end of this track.

5. Switching the Body 2:48

6. Gassing the Plane :56

This cue comes right after "Traction Table" on track 13.

7. The Bomb 4:20

This is the second part of track 5, from the 1:23 minute mark until the end.

The first part of the cue will be used later.

8. Car Chase 1:54

This cue comes right after "Gassing the Plane" on track 13.

Most of this cue is unused. Just for fun, watch it with the film playing. It syncs up perfectly. It starts right on the shot of Count Lippe after Blofeld orders his execution.

9. Bond Meets Domino 3:49

This is the first 3:49 of track 14.

10. Thunderball 3:57

11. Cafe Martinique 3:45

On the old CD this cue was mistakenly called "Cape Martinique".

12. Shark Tank :59

This cue comes right after "Bond Meets Domino" on track 14.

13. Bond Below Disco Volante 4:05

14. Search for Vulcan 2:28

15. Lights Out for Paula 1:52

This cue comes right after "Shark Tank" on track 14.

16. For King and Country 1:36

This cue comes right after "Lights Out for Paula" on track 14.

17. Street Chase 3:23

18. Death of Fiona 2:31

19. Finding the Plane / Underwater Ballet 1:51

This cue is the first 1:51 of track 16.

20. Bond with SPECTRE Frogmen 3:34

This cue comes right after "Finding the Plane / Underwater Ballet" on track 16.

21. Leiter to the Rescue 1:37

This cue comes right after "Bond with SPECTRE Frogmen" on track 16.

22. Bond Joins Underwater Battle 4:36

The first 1:23 of this track comes from the first 1:23 of track 5, "The Bomb".

The second part of this cue comes right after "Leiter to the Rescue" on track 16.

I faded out "The Bomb" and mixed in "Bond Joins Underwater Battle" around the 1:21 mark.

The final cue runs 4:36.

23. Underwater Mayhem 5:06

This is the first 5:06 of track 17.

24. Death of Largo 3:00

This cue comes right after "Underwater Mayhem" on track 17.

25. End Titles 2:13

This cue comes right after "Death of Largo" on track 17.

After this, there are various versions of "Mr. Kiss Kiss Bang" that can be included, but I'll warn you, they will not all fit on one CD. I did make a 2 CD set, but I'm not sure I'm entirely happy with it. The new album doesn't have the Dionne Warwick or Shirley Bassey renditions, and I'm not entirely sure that they are really missed. Experiment and have fun.

1. Gunbarrel and Capsule in Space 3:04

The "gunbarrel" comes from the first 23 seconds of "James Bond in Japan".

I overlapped "Capsule in Space" onto the "Gunbarrel" at 23 seconds, and they segue perfectly into one another.

2. Dead on the Job :57

This cue is from "James Bond in Japan". It comes right after the "Gunbarrel" at the 23 second mark (23.777 to be precise)

I added about 2 seconds of silence at the end of this track, so the transition to the title song is not as jarring.

3. You Only Live Twice - Title Song 2:45

4. Burial At Sea 2:01

This cue comes right after "Dead on the Job" in the cue, "James Bond in Japan"

It includes an unused section

5. James Bond in Japan 7:20

This is the remainder of the "James Bond in Japan" cue.

6. Chasing Aki 1:14

This is the first 1:14 of "Aki, Tiger and Osato"

7. Tanaka's World

8. Tiger, Aki and Osato 4:29

This is the remainder of "Aki, Tiger and Osato" re-titled only because the characters come in at different times now.

9. A Drop in the Ocean 2:58

10. Fight at Kobe Dock - Helga 4:01

11. Little Nellie 3:45

12. Soviet Capsule 2:05

13. SPECTRE 3:41

This track needs music from "James Bond - Astronaut?"

To assemble this track, the first 1:03 is from this track ("SPECTRE and Village").

Then you must cut out the first 1:41 from "James Bond - Astronaut?" and cut that section onto the tail of the first 1:03 of "SPECTRE and Village".

At the 2:41.951 mark into this combined cue I mixed the next minute of music from "SPECTRE and Village". You will need to fade out this track.

The final track runs 3:41.

14. The Death of Aki 4:19

15. Assassination Attempt :29

This is a very short cue. It comes from the "Village" portion of "SPECTRE and Village".

16. The Wedding 2:45

17. Nightfall

This is the last 1:14 of "SPECTRE and Village".

18. Mountains and Sunsets 3:09

19. James Bond - Ninja 5:23

This is the first 5:21 of this track.

I added about 2 seconds of silence to this track so that the start of the next track isn't jarring.

20. James Bond - Astronaut? 1:48

This is the second half of the cue from 1:41 to 3:29.

The first half of this cue was cut into track 13, "SPECTRE".

21. Countdown for Blofeld 2:37

22. Ninjas 1:28

This runs 1:27 and is the second part of "James Bond - Ninja".

There is a short unused section at the end of this cue, that I have chosen not to include here.

23. Bond Averts World War Three 2:17

24. Coda and Twice is the Only Way to Live 3:04

The short coda is the last 17 seconds of "James Bond - Ninja". I simply mixed that into the beginning of "Twice is the Only Way to Live" and it worked out fine.

25. You Only Live Twice (Julie Rogers) 3:07

This is the "demo" version of the song from the 30th Anniversary album.

26. You Only Live Twice (radio spot) 1:01

27. You Only Live Twice - End Title

This is the revised final end titles as heard on the album.

Here is the way Lukas Kendall intially sequenced On Her Majesty's Secret Service, until the lawyers butted in.

Now this is the way the album was assembled initially. Now track 6 ("Diamonds are Forever - Source") Lukas sequenced later than it's initial appearance. I've always known this as the music used when Bond first meets Tiffany ("If the collars and cuffs match"), but I think it's used several times. If you want to sequence the cue earlier, it comes before track 9 ("Tiffany Case").

As for track 21, I've read of some people cutting it up and sequencing that, but some of the cues are so short or incidental, I don't feel the need. If you really want to do it the Volume 8 Number 5 edition of Film Score Monthly has all of the details and more.

1. Gunbarrel / Snakebit 1:27

You may want to play with this. The song Live and Let Die was supposed to be mixed in with the very end of "Snakebit" but for contractual reasons it could not be done that way on this album. Nothing is stopping you from doing it though.

2. Live and Let Die - Main Title 3:12

3. Bond to New York 1:18

This is the first 1:18 of "Bond to New York"

4. Whisper Who Dares 1:43

5. Harlem 1:14

This is the next 1:14 of "Bond to New York"

6. The James Bond Theme 1:47

7. Bond Meets Solitaire

8. Something Happens :14

This is the last 14 seconds of "Bond to New York". Time for a small confession. I'm not sure what this is meant to underscore, since I really can't stand the movie and the idea of having to watch part of it only for 14 seconds is very off-putting. If you have a suggestion for a better track title, please let me know. The same goes for the track titled "Harlem".

9. Baron Samedi's Dance of Death 1:42

10. San Monique 1:57

11. Snakes Alive 2:41

12. Bond and Rosie 3:51

13. Bond Drops In :40

This is the first 40 seconds of "Bond Drops In"

14. The Lovers 2:09

15. If He Finds It, Kill Him 1:20

16. New Orleans 2:53

17. Solitaire Gets Her Cards 1:50

18. Trespassers Will Be Eaten 2:45

19. Boat Chase 2:01

20. Sacrifice 3:21

21. Underground Lair 3:59

You'll want to cut off the last 19 seconds of this track. They come in at another point on the album.

22. Train Ride 3:10

This is the remaining 2:52 of "Bond Drops In" combined with the 19 second cue cut off of "Underground Lair".

23. Just a Closer Walk With Thee / New Second Line 2:15

This is a source cue and may not even be the cue as heard in the film

24. Live and Let Die - B.J. Arnau 2:13

25. San Monique (alternate) 2:46

26. Filet of Soul - New Orleans 1:07

This was a very well assembled album in 1981. The extra music is nice, but none of it is really as good as the stuff that made it to the initial album in 1981. Also keep in mind that this 59 minute album is merely expanded and not complete. There are many cues that didn't make this album.

1. Gunbarrel / Flowers for Teresa / Helicopter Ride 3:23

"Gunbarrel" and "Flowers for Teresa" are the first 1:45 of track 13 on the expanded album. "Helicopter Ride" is the last 1:43 of track 3, "Melina's Revenge".

2. For Your Eyes Only - Title Song 3:06

I mixed the very end of track one into the start of this one. It works pretty well.

3. Sinking the St. Georges 1:09

This is the last 1:09 of track 13.

4. The Havelock's :34

This is the first 34 seconds of "Melina's Revenge" (track 4).

5. San Martin 1:01

This is the first 1:01 of track 5, "Gonzalez Takes a Dive".

6. Make it Last All Night 3:31

7. Gonzalez Takes a Dive 2:14

This is the last 2:14 of track 5, "Gonzalez Takes a Dive"

8. A Drive in the Country 2:25

9. Unfinished Business :50

This is the first 50 seconds of track 14.

10. Cortina 1:45

11. Bond Meets Kristatos 1:05

This is the last 1:05 of track 14.

12. Ski...Shoot....Jump.... 5:16

13. Runaway 3:54

14. Take Me Home 2:32

15. Good-bye Countess / No Head For Heights 1:24

This is the first 1:24 of track 16. This track will need to be faded out.

16. For Your Eyes Only 1:35

Flugelhorn Solo by Derek Watkins

17. Submarine 2:39

18. Dining Alone 1:57

This is the last 1:57 of track 16.

19. Recovering the ATAC 2:28

20. Sub Vs. Sub 3:16

21. Run Them Down 1:49

This is the first 1:48 of track 19. It needs to be faded out.

22. St. Cyril's Monastery 2:00

This is the first 1:58 of track 6.

23. The Climb 1:09

This is the last 1:09 of track 19. Sadly the cue "Run Them Down" was cross-faded into the dramatic start of this cue, so it's not possible to get a really clean opening on this track.

24. In the Basket 2:38

This is the final 2:38 of track 6.

25. The P.M. Gets the Bird / For Your Eyes Only - Reprise

At the end of my CD I included the three original album cues that I cut up for this chronological assembly. They are "Melina's Revenge", "Gonzalez Takes a Dive" and "St. Cyril's Monastery".

If you do not have the time or capability of editing this soundtrack into chronological sequence, the original Ryko album printed this cue order for programming the disc: 13, 1, 4, 7, 5, 2, 14, 11, 15, 8, 3, 16, 10, 9, 17, 18, 19, 6, 12.

Well those are all of the details for editing and sequencing the Bond albums. For Thunderball I would like to thank "GuruKenn" from the alt.fan.james-bond newsgroup for doing the initial editing and cue placement and I'd also like to thank John Cork for the unusually copious chapter stops on the CAV Thunderball deluxe laser disc box set. They both made making this edit of the album very easy.

For the rest I want to thank Lukas Kendall for publishing the great cue lists in Volume 8 Numbers 4 and 5 of Film Score Monthly. They truly came in handy and helped clear up some mistakes that I made on previous albums. If you've made it this far into the post, that I strongly urge you to at least pick up those issues of the magazine. For me they are indispensable.

Artwork for all of the posters above is by Jeff Marshall and available from Spy Guise.

If you have any further comments or questions, feel free to let me know.

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I saw your sequencing guides originally on the John Barry website and really enjoyed following them whilst watching the films again, stopping to hear the cues on the CDs!

I noticed that you hadn't included For Your Eyes Only, so, inspired by your work, I had a go myself, taking into account that my old Ryko CD might not be complete.

I was looking for a way to send you my results and then I found the link to the John Williams site and saw that you HAD done For Your Eyes Only. I checked your effort against mine and noticed some discrepancies. Thought you might like to see what I did and see if you agree with any of it. I should clarify that I'd already had a go before seeing your guide, so it was purely an act of inspiration, not an attempt to catch you out!

I've added notes in square brackets when comparing to your guide.

--------------------------------

Zac's sequencing guide to the expanded For Your Eyes Only

(inspired by Neil S. Bulk)

Note - A great deal of fading and snappy editing is required throughout so I haven't made any special mention of this on specific tracks. My MD deck has a fader button and I can set the length of fade-ins and fade-outs. I think without this I would have given up early on!

[Note 2 - some of my track times are different from Neil's, but I think that's mostly just because Neil took the whole CD track including the spaces, whereas I generally took my timings from where the music started and stopped.]

1. Gunbarrel / Flowers for Teresa 0:50

This is the first 0:50 of track 13 on the CD.

It's basically just an extended gunbarrel theme that runs into the opening scene and fades shortly before the vicar turns up.

2. Remote Control Airways 1:08

This is the last 1:08 of track 4 on the CD ("Melina's Revenge").

[it corresponds to Neil's "Helicopter Ride".]

On the CD, the music picks up after the extended gunbarrel theme, climaxing with a big drum fill and then the big brass theme. In the film, the music starts at the beginning of the brass theme, when Bond regains control of the helicopter. The music between the gunbarrel and the brass theme seems to be unused in the film.

3. For Your Eyes Only - title song 3:04

[At this point, Neil has included the "Sinking the St Georges" cue, but this is not used in the film, so I have omitted it.]

There is a short cue here where the two men on the boat swap shifts guarding the ATAC, but I haven't found that on the CD.

4. Melina's Revenge 0:34

This is the first 0:34 of track 4 on the CD.

[it corresponds to Neil's "The Havelocks"]

The cue accompanies the scene where Melina realises her parents have been murdered.

5. Journey to Gonzales' Villa 0:56

This is the first 0:56 of track 5 on the CD ("Gonzales Takes a Dive").

[it corresponds to Neil's "San Martin" but I noticed that the final few seconds of the cue are chopped in the film.]

6. Make it Last All Night 3:29

This is the whole of track 7 on the CD.

Special mention must go to the hairy men in unpleasantly tight shorts mincing around by the pool. Funny yet scary.

7. Gonzales Takes a Dive 2:11

This is the last 2:11 of track 5 on the CD.

It starts just after Gonzales orders his men to take Bond away, shortly before he dives in the pool, and ends when Bond sees Melina's car.

8. A Drive in the Country 2:22

This is the whole of track 2 on the CD.

9. Unfinished Business 0:48

This is the first 0:48 of track 14 on the CD.

It accompanies the scene where Melina tells Bond of her intention to kill the person who paid Gonzales to kill her parents.

10. Cortina 1:42

This is the whole of track 11 on the CD.

It accompanies Bond's arrival in Cortina, settling into the hotel.

11. Bond Meets Kristatos 1:05

This is the last 1:05 of track 14 on the CD.

It's the music playing at the ice rink where Bibi is rehearsing and where Luigi Ferrara introduces Bond to Kristatos.

12. Spiker Bikers 1:10

This is the first 1:10 of track 15 on the CD ("Ski...Shoot...Jump...").

It accompanies the scene where Melina is almost mowed down by the spike-wheeled motorcyclists.

At this point in the film there is a piano instrumental version of For Your Eyes Only which accompanies Bond and Melina's journey on the horse-drawn sled, but this is not included on the CD.

13. Ski...Shoot...Jump... 4:05

This is the last 4:05 of track 15 on the CD.

In the film there is a short break in this cue where Bond gets away from Kriegler, reaches the bottom of the slope and mingles with the crowd. However, the cue is cross-faded on the CD making my humble editing efforts rather crude, so I opted to leave the cue whole.

[Neil chose to leave track 15 whole which is reasonable as there is no other music on the CD to separate it. I chose to split it because they go with different scenes and there is a cue (mentioned above) that separates them in the film.]

14. Runaway 3:51

This is the whole of track 8 on the CD.

It accompanies Bond's escape from Kriegler's men after the ski jump.

At this point in the film there is a bunch of cues which I haven't found on the CD. These are:

- The scene where Bond finds Ferrara dead in the car with the Dove badge.

- Another instrumental version of For Your Eyes Only where Bond and Melina are talking on the balcony.

- The music in the casino where Bond beats Bunky.

- The music in the restaurant where Kristatos points out Columbo to Bond.

15. Take Me Home 2:32

This is the whole of track 3 on the CD.

It plays while Bond and Lisl are 'relaxing' at her beach house.

16. Goodbye Countess 0:51

This is the first 0:51 of track 16 on the CD.

It accompanies the scene where Lisl is knocked down by Kriegler in the jeep, and Bond's subsequent capture by Columbo's men.

17. Approaching the Warehouse 0:23

This is the first 0:23 of track 18 on the CD ("Sub vs Sub").

It accompanies Bond and Columbo et al sailing towards the warehouse in Albania.

The cue in the film begins with this but seems to switch into a different piece of music for the fight scene which I haven't found on the album. It definitely starts with this, though, and the later Sub scene cue starts after this 0:23 bit.

18. No Head for Heights 0:25

This follows immediately after "Goodbye Countess" in track 16 of the CD.

It goes with the scene where Bond kicks Kriegler and his car off the cliff and quips to Columbo that Kriegler had no head for heights.

[i'd probably have left it on the end of the "Goodbye Countess" cue too, if it wasn't for that pesky "Warehouse" cue!]

19. For Your Eyes Only 1:32

This is the whole of track 10 on the CD, the flugelhorn instrumental.

20. Submarine 2:36

This is the whole of track 9 on the CD.

It accompanies Bond and Melina's journey in the Neptune to the sunken St Georges.

21. Dining Alone 1:57

This is the last 1:57 of track 16 on the CD.

It accompanies the scene where Bond and Melina are disturbed by a shark and Bond comments that he hopes the shark is dining alone.

22. Recovering the ATAC 2:29

This is the whole of track 17 on the CD.

It accompanies Bond and Melina's attempt to recover the ATAC and includes the scene where they are hindered by one of Kristatos' men in a big scary diving suit thing.

23. Sub vs Sub 2:52

This is the last 2:52 of track 18 on the CD, after the pesky warehouse bit.

It accompanies the scene where the Neptune comes under attack by one of Kristatos' men in another sub.

24. Run Them Down 1:48

This is the first 1:48 of track 19 on the CD.

This is the scene where Kristatos orders his men to run Bond and Melina down with the boat after he has keel-hauled them over the coral and the sharks have chosen not to eat them.

There is some more 'local flavour' music at this point in the film, as Bond makes his way through a festival of some kind on his way to connect with Q in the confessional box.

25. St Cyril's Monastery 4:36

This is the whole of track 6 on the CD.

It accompanies Bond, Melina, Columbo et al on their way to Kristatos' hideaway.

[Neil is probably right to split this cue either side of "The Climb" - I just didn't notice it, then found myself missing a cue later!]

26. The Climb 1:10

This is the last 1:10 of track 19 on the CD.

It follows Bond's ascent of the rockface to the monastery.

There is some more music following "The Climb", similar to that and the previous cue, but I haven't found it on the CD.

[i now know that it is probably the bit of "St Cyril's Monastery" suggested by Neil.]

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I accepted your challenge to come up with better track titles for your cue sequencing of Live and Let Die!

The track you called "Harlem" I chose to call "Oh Cult Voodoo Shop" as this is the music playing inside said shop when Bond walks into it.

The track you called "Something Happens" I chose to call "Harold Strutter, CIA" as this cue announces his arrival after Bond has concussed his would-be 'wasters' with the overhead fire escape ladder.

I also made some different sequencing choices, as follows:

In the pre-titles sequence, I recorded the funeral music ("Just a Closer Walk...") off the video and inserted it between the gunbarrel theme and "Snakebit" (or "Snakebite" as I've called it) with a bit of clever fading and editing.

I split "Bond to New York" into two separate cues. The first part goes with the scene where Agent Caruso emerges from the cupboard after M and Moneypenny leave Bond's gaff. I called it "Closet Caruso". The second part accompanies Bond's flight into New York so I left that as "Bond to New York".

I slotted "Fillet of Soul - Harlem" in between "The James Bond Theme" and "Bond Meets Solitaire". It's the last 1:03 of track 8 on the CD. It sounds just like the music playing in the bar. If it's not exactly the same, then it's close enough for me!

I also slotted "Fillet of Soul - New Orleans / Live and Let Die" between "New Orleans" and "Solitaire Gets Her Cards". It's the first 2:13 of track 8 on the CD.

Thanks for the inspiration!

zac

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For those who would like to create a custom soundtrack of FRWL in film order, here's the track listing. You'll need three different CDs to compile this collection and a little searching on the web to find a decent MP3 of the FRWL gunbarrel. Some of the music is actually a rerecording and not the original, but it should work out OK, at least until the recording masters for FRWL are found (if ever). Likewise, some cues are repeated, mainly the James Bond Theme (the original Dr. No recording).

CDs NEEDED:

[FRWL] From Russia With Love Original Motion Picture Soundtrack (remastered)

[bBIA] Bond Back In Action -

[JBT] John Barry: Themeology

[DN] Dr. No Original Motion Picture Soundtrack (remastered)

MP3 NEEDED:

From Russia With Love Gunbarrel Theme - it's on several Bond fan sites and vary in recording quality.

1. Gunbarrel [MP3]

2. Stalking [FRWL]

3. Main Titles: James Bond Is Back / From Russia With Love / James Bond Theme [FRWL]

4. SPECTRE Island [FRWL]

5. Tania Meets Klebb [FRWL]

6. From Russia With Love (Matt Monro) [FRWL]

7. James Bond With Bongos [FRWL]

8. Searching For Bugs (James Bond Theme) [DN - track 1]

9. Meeting In St. Sophia [FRWL]

10. Gypsy Camp [FRWL]

11. Girl Trouble [FRWL]

12. 007 [FRWL]

13. Guitar Lament [FRWL]

14. Bond Meets Tania [FRWL]

15. 007 Takes The Lektor [FRWL]

16. Death of Kerim [FRWL]

17. The Zagreb Express [bBIA - track 4]

18. Death of Grant [FRWL]

19. Helicopter Chase (James Bond Theme) [DN]

20. Man Overboard / SMERSH in Action [FRWL]

21. Death of SPECTRE Agents [bBIA - Track 2. Use third cue, 'Death of Dr. No'.)

22. End Titles: From Russia With Love (Matt Monro) [JBT]

UNUSED TRACKS

23. The Golden Horn [FRWL]

24. Leila Dances [FRWL]

Any corrections to this track list are welcome.

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Here are some additions and corrections to make an even better Thunderball soundtrack:

1. Use only the first section of 'Bond Meets Domino' (up to 1:04). The calypso-like lounge music in the second section was prpbably originally intended for the rest of the scene ('My, what sharp little eyes you've got!'), but is actually unused in the film. A very small portion of the Thunderball instrumental source is used instead. You'll need to listen carefully to the DVD's audio to determine how long it is, as it fades pretty quickly.

2. How to create the end credits track as heard in the DVD:

a. Take the end titles and edit out the last section containing the Thunderball end titles (after 1:05).

b. Splice in an edited version of the Dr. No James Bond Theme. This version is composed of the following parts of the theme:

* from the lead-in to the melody section (delete everything from the beginning (the Vic Flick twang guitar section) to that point.

You'll need to do a little tweaking and cleanup but the transitions are quite jarring - this was tracked in when the end credits were edited to remove "JAMES BOND WILL RETURN IN ON HER MAJESTY'S SECRET SERVICE".

Hope this helps.

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Some of the discussion here has me concerned. Why would I want to listen to the re-done end titles to Thunderball? It's just the "James Bond Theme" tracked in and re-edited. It's nothing special. It's not what John Barry intended for the end titles. His music should be properly presented on CD. I go by the philosophy that the CD should represent what the composer wanted and not how the score was man-handled into the film. That's why an album like the "Ultimate Edition" of The Phantom Menace is such a failure and a travesty. It doesn't represent Williams' conception of how the music was intended and how it should be heard. That's why in the case of You Only Live Twice I have it sequenced to play "Twice is the Only Way to Live" as the end title track. That's what Barry composed for the end titles. Only later was it decided to track in and cut the title song for the end titles, but I chose to preserve Barry's conception of the score. And speaking of YOLT why not just go all the way and cut off the opening of "A Drop in the Ocean" and replace it with part of "James Bond- Astronaut" as it was in the film?

I can't understand why people would cut out music on a soundtrack just because it wasn't heard in the movie, either. There is music on the Return of the Jedi SE album that was composed for a scene dropped from the film. Should the music not be on the album? Zac, I'm stunned that you would cut out the sinking of the St. Georges cue from For Your Eyes Only.

Ultimately it comes down to what you are trying to present on the album, the artist's intent or the filmmakers needs.

Neil

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I'm also one who likes to listen to soundtracks the way the composers intended as well, though I don't mind doing a little experimenting and trying to assemble a custom soundtrack the way it was heard on the film as well. I'm only providing the information I used to compile my 'custom' soundtracks.

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I thought the point of re-sequencing was to create a soundtrack that reflected what is heard in the film. If I'm wrong, then what exactly IS the point?

Neil, you've spent a lot of time and effort chopping, editing and fading pieces of music created by composers so you can make your own sequenced soundtracks that represent the cues as heard in the films. It seems contrary of you to suddenly get purist and criticise others for doing the same. If you want to hear what the composer intended, then surely listening to the soundtrack albums as they were released would suffice.

I'm just doing it for the fun of it. If I want to listen to "Sinking the St Georges" it's still there on the CD. I haven't deleted it. I could even include it as a bonus track on my re-sequenced film-based edit. It's not a big deal. No need to get concerned.

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Neil, you've spent a lot of time and effort chopping, editing and fading pieces of music created by composers so you can make your own sequenced soundtracks that represent the cues as heard in the films.

I've never cut up the tracks to "represent the cues as heard in the films". I put them in the order and sequence the composed intended, as they were meant to be heard. Big difference.

It seems contrary of you to suddenly get purist and criticise others for doing the same.

Ask anyone here, I didn't "suddenly" become a purist.

I thought the point of re-sequencing was to create a soundtrack that reflected what is heard in the film. If I'm wrong, then what exactly IS the point?

There is no definitive right and wrong, however I've discovered that the best listening experiences have almost always been complete and chronological presentations of scores. The keywords being complete and chronological. The cues that I've done fades on and cuts to were cues that were already edited together, after the recording sessions.

For many of theses scores I have the slate numbers, so I know what cues were pieced together (usually by someone other than the composer) and where to separate them. Once that's done, sequencing is a breeze. For instance the original 1967 album cue of "James Bond - Astronaut" was a combination of 2 cues slated 7M2 (which is the music heard when SPECTRE unloads the Russian capsule) and 10M4 (which is the music when Bond is about to go aboard the SPECTRE rocket). It was not recorded as one long cue, but cut together for the album. I cut it apart to reflect the film sequencing.

By showing the way I want a score presented (complete and chronological) it hopefully sends a message to the studios who sometimes make mistakes. The Bond scores had some issues and had to present the extra music as bonus tracks, so their sequencing was unavoidable. With my edits, I've rectified that situation.

In the case of an album like the "Ultimate Edition" of The Phantom Menace (an album filled with tracked music and repeated cues and doesn't represent Williams' music well at all), that's something that I'd like to be an isolated case and never see anything like it released again. I want all of the music written, in sequence chronologically (the way Superman - The Movie was done). That's my point of view. Again, there is no hard definite right or wrong. What do you want?

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Now I understand a bit better what you were trying to achieve I agree with you and applaud your motives as well as your efforts.

I may have come across as a bit defensive in my last message. Sorry for that. I was stung a little by what I thought was an unnecessarily negative and dismissive response on your part. What I did was inspired by what you did and you didn't seem to acknowledge that or have anything positive to say about my FYEO effort or my contribution to your LALD track-naming.

I was coming at this as a bit of a newbie. I'm no expert on soundtrack music. I certainly don't have access to recording slates! The movies are all I have to go on as a guide to the way the music ought to be sequenced and I've only recently started to really listen to the Bond soundtracks in tandem with watching the movies again, so I was just contributing.

But thank you for taking the time to explain what it is you are aiming for. I'm impressed by your dedication!

Cheers

zac

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I may have come across as a bit defensive in my last message. Sorry for that. I was stung a little by what I thought was an unnecessarily negative and dismissive response on your part. What I did was inspired by what you did and you didn't seem to acknowledge that or have anything positive to say about my FYEO effort or my contribution to your LALD track-naming.

That's cool. I was just trying to understand your motives that's all. If I came out a little rough....well I don't what I was thinking at the time.

I'm no expert on soundtrack music.

Neither am I, but I'm slowly learning. Someday....

I certainly don't have access to recording slates!

Many of them were printed in Film Score Monthly. You should check out the issues I referenced.

But thank you for taking the time to explain what it is you are aiming for. I'm impressed by your dedication!

But what about the other films? I realize that with some of them, all I need to do is switch the second track with the title song. I only recently started getting all the Bond soundtracks. I don?t own any of the films on tape/disc (I plan to buy the new DVDs in 2005), so I can?t compare any of the CDs with films. So below I have listed my best guesses at proper sequencing of the Bond scores that haven?t been done yet:

DN: I don't own it yet, and I'm not in much of a hurry to, since I've heard it's mostly source music.

TMWTGG: Just switch the first 2 tracks and add the gunbarrel here, right? What about extra music from Bond Back In Action?

TSWLM: Not that I want to listen to this one all the time, but still... Is this another where I would just switch the first two and add the gunbarrel?

MR: Now I know this one's out of order. Help, please!?! This one?s missing the gunbarrel, too. I'd also like to include the stuff from BBIA.

OP: Switch the first two and add the gunbarrel?

AVTAK: Again, switch the first two and add the gunbarrel? I know "Fanfare" from BBIA goes in there somewhere.

LTK: I know there's a lot of editing involved there. Anyone know how to rearrange everything?

GE: Another I don't intend to listen to much. Anyway, switcheroo again, add the gunbarrel, and swap out the "St. Petersburg" music with the film version from BBIA and put Serra?s version at the end, correct?

TND: This one's a mess. When you combine both CDs (minus the interview), it won't all fit. Personally, I think I'll drop Moby's remix, as it's really not that great. (Maybe I?ll stick it on my GE disc.) Basically, take the extended album, insert the songs where they go and add "Station Break" where it was on the first disc. Sound good?

TWINE: Add the gunbarrel and put the title song after the first two tracks. Then, add the film version of the credits music (which I found and KaZaA or online somewhere) before Scott Walker's song. Right?

DAD: Put track 3 first, then track 1, then 4 and so on. Put track 2 (Oakenfold) at the end. On mine, I may put a DAD remix in for credits music before Oakenfold. How?s that?

Thanks!

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TND: This one's a mess. When you combine both CDs (minus the interview), it won't all fit. Personally, I think I'll drop Moby's remix, as it's really not that great. (Maybe I?ll stick it on my GE disc.) Basically, take the extended album, insert the songs where they go and add "Station Break" where it was on the first disc. Sound good?

I don't think it's a mess, but that re-ordering sounds good. But I think you might want to take a look at the isolated score...

DAD: Put track 3 first, then track 1, then 4 and so on. Put track 2 (Oakenfold) at the end. On mine, I may put a DAD remix in for credits music before Oakenfold. How?s that?

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I don't think it's a mess, but that re-ordering sounds good. But I think you might want to take a look at the isolated score...

I just mean it's a mess in that they've released two CDs that are each missing some major stuff. And even though that Arnold interview on the second disc is pretty interesting, it's not the kind of thing I want to listen to again and again on a CD.

Also, I'm aware of the isolated score on the DVD, but I can't listen to that one in the car. I know I could rip from it, but I haven't done that before and I'm not ready to try it just yet. This 1-disc will be fine for now.

Anyhow, thanks for the help on those!

Now that I've got the Brosnans down, can anyone else help me with the others?

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I just listed to LALD again today. I agree that it sounds better in order. In fact, the score itself has really started to grow on me. I hated it at first because of it's "70s-ness", but when you put that aside, there's some really good music in there. "Bond Meets Solitaire" is one of my favorite tracks on the disc. And I think Martin may be, IMO, the best one-timer in the Bond world, followed by Kamen.

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1. Gunbarrel/James and Felix on Their Way to the Church (Track 6 0:00-1:10)

2. Sanchez is in the Bahamas (Track 7 0:00-1:18)

3. Chasing Sanchez (Track 8)

4. Let's Go Fishing (Track 10 1:13-3:09)

5. Here Comes the Groom (Track 6 3:01-End)

6. Main Title: Licence to Kill (Performed by Gladys Knight) (Track 1)

7. Wedding Party (Performed by Ivory) (Track 2)

8. Sanchez Escapes (Track 6 1:32-3:00)

9. Leiter Gets Lighter (Track 7 1:19-End)

10. He Disagreed with Something That Ate Him (Track 9 3:58-End)

11. Licence Revoked (Track 10 0:00-1:13)

12. Underwater Mission and Catching a Flight (Track 10 3:09-End)

13. Dirty Love (Performed by Tim Feehan) (Track 3)

14. Bond and Pam Escape (Track 4 1:00-1:47)

15. Pam (Track 4 1:47-End)

16. Ninja (Track 9 0:00-3:57)

17. Bond Gets Away (Track 4 0:00-1:00)

18. Free Fuel (Alternate) (Track 6 1:10-1:31)

19. If You Asked Me To (Performed by Patti LaBelle) (Track 5)

If you don't want to edit at all, here's the most chronological track order:

6, 8, 1, 2, 7, 10, 3, 4, 9, 5

However, the CD tracks are just sloppily thrown together. Even with Windows Sound Recorder you could probably edit some of these.

Now, for some notes:

There is no tracked music on this list. However, the film is full of it. Sometimes parts of cues are tracked more than once. You may notice that the whole truck chase sequence is missing from this list. That's because all of the music is either tracked or unreleased (but moslty tracked). I do have a list with most of the tracked music on it (although there are a few question marks on parts) if anyone would like to see it. But some of the edits are crazy. You'd almost think George Lucas had a hand in it.

Yes, 14 and 15 are consecutive, but they are two separate cues. There's some space between them in the film, and I think a little space on the album works better too.

This list is not an exact list of how the music appears in the film. The order is the same, but some cues are shortened, looped, or tracked in the film. Rather, this is more of a representation of how Kamen probably intended it.

There's one thing I still don't like about this arrangement: there's not a good sense of closure at the end of the score (which was still a problem before, with the CD arrangement). The song there helps, but I'd like for the score on the album to end differently. Sanchez's death and the two "Pam" cues in the film would have finished it perfectly, but these cues weren't put on the CD. Speaking on unreleased music...

There is a lot of unreleased music. Much of it is thematic material: the Spanish guitar that represents Sanchez, the mushy music that goes with Pam, and a lot of good usage of the Bond theme on the guitar that went with many of James' scenes.

I wish MCA or whoever owns this music would relize that it's not to late to release a 15th anniversary edition of this score on CD! The bad edits and omissions make the current CD quite a stinker (as an album). But until we get a better release, I hope this list makes the score a little more enjoyable.

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This list is not an exact list of how the music appears in the film. The order is the same, but some cues are shortened, looped, or tracked in the film. Rather, this is more of a representation of how Kamen probably intended it.

Great work, I might do an edit myself once based on this list!

I wish MCA or whoever owns this music would relize that it's not to late to release a 15th anniversary edition of this score on CD! The bad edits and omissions make the current CD quite a stinker (as an album).

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Hmmm - I started e thread very much like this over on the LIve and Let Die Board at IMDB....needless to say, the answers here are far more authoritative than the chaps at IMDB.....I'm a gonna get editing now.....License to Kill is in for the chop.....

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Yes, like I said over at CBn (I'm Ozzel there), I guess I got the first version of that guy's Moonraker. I haven't listened to it all yet, but there are FX and quality/volume changes. But if the originals really are lost, this may be all we ever get.

I've got about 3/4 the full DAD. And that brings me to a chronological question. Is the title song still right after "On the Beach" or is it a few tracks later? I've only seen the film once and I can't recall.

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Okee dokee - can I just say a huge thanks to all who have put work into this thread - however much or little. The re-releases of the Bond Soundtracks annoyed the crap out of me because of the Order that some of the music was in - I have had a ball editing them according to these posts, and the result are well worth the effort....

Particular thanks to Neil for starting the ball rolling in the first place.....

All I need now is the extended score release of TND and I'm well away....

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Speaking of Diamonds Are Forever, I was wondering something. It's about the "Additional and Alternate Cues" track. I don't want to chop up the whole thing, but I would like to take out that lengthy jazz piece. It's a nice tune, and it deserves its own track. What scene was it supposed to go with? Is it an alternate cue, or just unused?

Two notes on the Chapter III release part: Track 3, Company Car, is not 1:55. It is the same length as the others. And track 4, Paris and Bond, corresponds with the other track of the same title and The Seduction.

Hope that helps.

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Speaking of Diamonds Are Forever, I was wondering something. It's about the "Additional and Alternate Cues" track. I don't want to chop up the whole thing, but I would like to take out that lengthy jazz piece. It's a nice tune, and it deserves its own track. What scene was it supposed to go with? Is it an alternate cue, or just unused?

It goes right after the cue "Circus Circus". My re-assembled DAF mix has the cues placed in the approximate location in the film:

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I usually don't go for sound FX in my music, but I really don't really mind a simple gunshot. The gunbarrel is such an essential part of a Bond score, I can't imagine listening without it. Why anyone would think it a good idea to leave that off the album is beyond me. For FRWL I can kind of understand, as it was the first score with with one. But GoldenEye? TWINE? Come on.